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@@IanBarth that’s how I felt when I first listened to it. Share in my pain 😂

@@fuzzysstuff9888 why? It’s fair use, kept to a minimum, doesn’t spoil a lot, and can serve as free promotion

@@kittypaisley2029 seems to me like 4/4 but the tempo fluctuates and some of the melody is intentionally off of the beat

@@thestud2 a goldsmith classic horror score. In general he uses all these unique scales to create so many creative atmospheres. I plan on covering more of his scores

It is indeed 12 horns only, no other instruments. I'd recommend checking out the London Horn Sound and the Vienna Horns CD Directors Cut for some better, professionally produced horn ensemble recordings

@@AndrewMerideth Thanks, and thanks for the recommendations.

I'll give that one to you. I read it as "composers prior to Beethoven". but really the term 'classical' has been used for pretty much all non-living orchestral composers despite not entirely being accurate since there actually is a classical era as you point out. it's like how everyone calls it a "french horn" including horn players, it's not accurate but that's what people call it

@@AndrewMerideth I would not have said anything except that many of your complaints seem to live on the tiniest of asserted differences Adler says most classical composers seldom write above the 12th partial. Presenter says some composers did write above the 12th partial. Those two statements are completely compatible and the first is not in need of rebuttal. I can only explain ruckus by presuming that common English adjectives, like "seldom" and "most", no longer retain their common meanings.

I agree my wording could be better there. I don't claim to be perfect and that's why I welcome comments and corrections

I'll admit i could have worded it better, but at the beginning I did play the clip where The Escapist said exactly that for Bloodborne, but Austin did NOT say that for the Dancer. there have been other comments comparing the two games though which is why I did the same test. Austin never showed any proof of the Dancer attacking in 3/4 so there wasn't really anything to debunk, so I did what I could with what I had

Thanks for coming on and providing a more modern and new way to dismantle the terminology... What topic should be tackled next?

I'm all for any example, especially if its a cool groove so this one counts for me. Nice find!

There's also two Touhou tracks I want to see someone unpack - Retribution for the Eternal Night and Mysterious Purification Rod. The former has big chunks of 11/8, the latter is what I can only describe as "4/4 but it trips and falls and makes a (17 or 18 or 19)/16 phrase sometimes"

@@demidemonym for the first, I'm getting 11/4 more than 11/8 (it's a personal preference for myself to default beats to quarters or dotted quarters and I'm feeling 11 beats rather than a 3+3+3+2 four beat groove like you find in pieces like Whipping Post). as for the 2nd piece. I'm getting a straight beat. It's mostly in 4, but there are 3 beat measures in there too. I didn't pick up on any randomly added 16ths

They are similar, but note wise they seemed different enough to me. Maybe there's a variation of it I missed that's closer to the same?

@@AndrewMerideth No, in hindsight I think you didn't miss anything. I had that "fact" that they are the same thing in my head for years and even remember getting my mind blown from hearing the similarity for the first time. But listening to it closely the difference between the 2 is actually very obvious. I guess I never really paid close enough attention to Lucius' motif. That plus probably some confirmation bias :D

I always welcome comments and suggestions, thank you! That's an interesting thought about the green screen. I figured this would be better than a voice over and random video clips (and I gotta get some credit over the amateur look of holding the mic, right?). I also try to make it better than a generic desk background, webcam at the desk type look or the same lighting as everyone else (red/orange and blue in a dark room with a strong light from one side, I see that a lot) and more interesting than a solid color (New Rockstars), which I know I did once. I feel I at least put more thought into it than most channels. I have thought about setting up a desk setup similar to something like LegalEagle, but I haven't come up with anything I'm happy with. I've also thought about making a lopping animated background that I'd use for all videos too. I'm always looking to improve the look. Obviously my expertise is in the content more than the editing. If only I could afford an editor to make it all look better.

oooh, interesting. I'll have to look into that one as ET is told as the "only" example of that

The more unusual thing there was that some of the music was written and recorded before production, which became a regular thing in their collaborations. Leone even played the music on set sometimes, since italian movies often shot without sound anyway. The European school of film music is different than the usual American, often the composers just recorded a library of cues to be used wherever and some specific cues to be used in specific places, but often not written and recorded to picture, intended to be edited to fit, or for the picture to be edited to it to fit, or just played underneath as is, placed wherever it feels right.

@@FilmMusicHungary fascinating, the Original Series of Star Trek was done this way a bit to cut costs. To me it would make sense to have some music written early to capture the vibe and then have more specific scenes scored later to mold to the movie better, but I had no idea there was a more of that style done in Europe.

When you see the extended shots at the gun fight scene, perhaps by today's standards, the movie drags along but I love having the music as an integral part of the story telling, basically just like a music video. Modern cinema seems afraid to use slowness as a story telling mechanism. For this reason, essentially all action movies are nothing but a CGI frenzy and the movie has zero shelf life. Here we are, talking about Leone movies made 60 years ago that still hold up. No one will be talking about current movies 60 years from now. Also, it would seem that John Williams has run out of ideas or just feels uninspired in his latest scores. The newer Indiana Jones music and Star Wars scores are unmemorable.

@@AndrewMerideth Earlier Star Trek had some of the best movie scores in all of movie history. Unfortunately, most of those composers are no longer with us and it shows.

@@oddities1670 it’s in a straight 5 for the most part. While the groove is similar to Take 5, the melody and even in the groove don’t accent the 2nd beat in the clave enough for me to feel it in 4

Granted I'm in my own head when editing these so I'm not sure what you mean that it wasn't clear enough regarding the versions as I stated the performed version is not the film version and even showed examples of the changes. as for the edit you may be hearing, the trumpet parts seem a bit off from what you would expect but it matches both soundtrack releases for that scene and I'm not hearing any cuts. This is also before the concert version "adventures on earth" begins

The finale consists of 3 cues which were recorded separately: 11M1 The Rescue (from Gertie running to Mary with the flower until we cut to the bikes), 11M3 The Bike Chase (obviously covering the bike chase until they land in the forest) and 11M4/12M1 The Departure (covering all of the rest, including the goodbyes and takeoff, until the credits start). The story referred to here is only about 11M3 The Bike Chase, which was recorded on the first day of the sessions. 11M1 The Rescue was recorded as usual, to picture, then it was later cut down a bit when that part of the chase was cut down. The original soundtrack album combined all 3 of these cues into one track, Adventure on Earth, then JW later wrote the concert piece Adventures on Earth (also referred to in this video) based mostly on a combination of The Bike Chase and The Departure, but also including small bits of The Rescue in there.

@@FilmMusicHungary I thought about including the exact roadmap of the concert version of Adventures on Earth, but wasn't sure how much people would want to know outside of a few examples of changes. I do remember hearing it somewhere about this being the first day of recording and that they did an abnormal amount of takes before the projector was turned off, but I couldn't confirm how the finale cues were split in the recording due to how the score is written. I can confirm about The Departure (from the BTS clip I used of JW telling the story) but not the other section. In that interview, JW makes it seem like the Chase and Departure were part of the same cue, but they show a clip of the fade out between the two.

you're absolutely right... I wonder what other legends have been told that might not be 100% accurate...

thanks. this idea spawned from when I performed ET live and the finale was a bit different than my aural memory told me from performing Adventures on Earth so many times

see the pinned comment

I'm getting heavily syncopated 4/4, no 5/4 clave. I searched both Alucards theme and A left foot trapped in a sensual seduction and got the same tune. maybe a different variation is in the 5/4 clave? I can see that as a possibility

Nice find!

It's definitely a Wagner Tuba. William Melton did a massive deep dive into the history of the Wagner Tuba which is my source for most of the historical information about the instrument. In the article by Melton published in the May 2004 issue of the Horn Call is my source for this, but that section at 23:40 is 3 Tuben, played by Vincent DeRosa, Arthur Maebe, and David Duke.

I agree with you, see my pinned comment where I admit to trying to emulate that style and agree this tone is not a good one to take. I also agree with this on other comments here as well. This is the only video I take this tone in and one I do not plan on repeating

I felt that Brian Tyler's was close enough to Jerry Goldsmith's that it wasn't really worth mentioning as a "new" one. as for Marvel's, I actually had no idea there was a Marvel fanfare!

Oh interesting! I looked but not very hard for it

I honestly dont even remember what gave me the idea to look this up and make a video. I never thought about who wrote those fanfares until now either, but it seems like something every composer should do one of eventually

@@AndrewMerideth Definitely, and now that you've covered all of these it seems fairly common.

I don't buy that at all. People with perfect pitch are like crossfitters and vegans. The can't help but bring it up and compare themselves to "lesser" people. I'm sure you knew that some people would get it wrong and just wanted to mention perfect pitch.

@@thisislance Well, absolutely not ! I actually rarely say that I have perfect pitch, it's not something I'm "proud of" and I certainly would not consider myself superior to others because of it ! I honestly never thought some people would sing this last note incorrectly

@@thisislance I've known Marc for over 10 years and didn't know he had perfect pitch until maybe 2-3 years ago? and funny you bring that up about crossfitters and vegans as I still have colleagues give me the "wait, your vegan!?" reaction as I don't spread it around unless it becomes necessary, like here to prove a point. I know a handful of people with perfect pitch and none of them fall into the category of "cant help but bring it up". Same with my vegan friends as we discover each other by random chance. I only know a few online vegans that are annoying in that way and I don't support what they do

Totally fair, but I stand by my statement on average and I do find that it's odd and elitist to not think that people would get a note wrong. I'll gladly exit the conversation now and not disturb the actual content of the video any further. ​@@AndrewMerideth

It is a bit unusual for him. If anything I'd guess Zimmer's 1492 and Williams' DreamWorks were switched. I know Williams also added the E.T. Flying Theme into Goldsmith's Universal fanfare for the movie's 20th anniversary. That might technically be the closest thing.

@@FilmScoreandMore really? both sound very much like their composers to me. I also completely forgot about the 20th anniversary ET logo! @RedCaio that's interesting, the Dreamworks logo sounds so much like Williams. My guess is they wanted to lean more into the "Dream" side of it

@@AndrewMerideth I think that some people when they think of John Williams they think more of his "big" side, but not so much the more emotional one.

@@paulytheking7365 oh for sure… hmm, gives me a video idea…

WHOA! Good catch! And yeah, I'm loving the breakdowns you are doing as well! Crazy how accurate you and the others are able to figure out day by day based on trailers, it's kinda nuts to figure out most of the game AND the winner based on the trailers

I couldnt resist

I got lucky. I was checking trailers as a just in case for any musical references and happen to notice it

thats a good one, but not too unexpected since it's the same composer. it's similar to his klingon theme as well if you ignore the meter

@@AndrewMerideth Talking about the same composer having similar sounding cues, there are a ton of moments in Night at the Museum’s score where Silvestri’s music sounds very similar to his score for the Polar express. Many cues have similar sounding tremolo string lines, the same synth glockenspiel (maybe just reverb), and even the simple 3 note heroic Lydian fanfare is used a ton in Museum, among other things.

oh 100% for sure. still fun trying to figure out the potential "temp tracks"

THAT'S IT! I knew it sounded familiar! So glad I included it

Dammit! Now you made me lose The Gayme too.

Timestamp?